How has your approach to visual effects have changed since the first days of your career?
This has been interesting because when I first did Merantau, I had no idea about applying the VFX level. It was my first type of experience with it. And I remember that “Merantau” was one shot where my VFX guy Andi Novanto of Clay Studios in Indonesia, he put us a digital wall because we couldn’t afford to build it. And I remember I was in -depth, which was possible. I don’t know why I don’t think this is possible because I saw a lot of sci-fi movie that did much crazier things with VFX, but for any reason it is never suitable for my job. Maybe because I am working at a low budget level, I just don’t think it is achievable.
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And gradually, the more experience I have had, the more times I have worked with VFX supervisors on the floor and learned what they need, what they want them to better sleep on the VFX, the more I understand what is limitations, but also how we can help in terms of world design. Because we did a lot in practice. We are helped by VFX in places. Andi is one of the best in the industry, I believe that by making blood and debris, and muzzle flashes. I just think his attention to details is extraordinary.
But then we had an incredible job from all of our vendors, one of us and Troll and Dupe, who did an incredible work of the world for us, because apparently we photographed a movie that created a merging of different eastern coasts throughout America, but filmed it significantly in Wales. So there was always one eye looking at “Can I fill half of my frame with enough real architecture so that when we sleep the rest and complement it, there is a reference frame to try to make it feel more cohesive so you don’t know about that art?” Yes, this is a game changer, but it’s how to use it in a reasonable way and how to use it in the right way, it always prefers it to me.
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Cool. So I only have a few minutes with you. I just wanted to ask if you have a favorite shot in this movie. You have talked about your inner geek before. Is there one thing you were really happy about that you were able to do in this movie?
Oh man. I love the introduction of the killer before the trap of Laurence. The big crane that came in, and when the motorcycle enters, I have always loved it. But then I love the rhythm just as well – shortly afterwards there is a shot from our guy to go up with a pistol up, a bodyguard with a gun up that passes through the car literally when the killer pistol returns to the opposite direction. Such things are just small moments, but it’s like such things, its symmetry and its rhythms and percussion elements that really fascinate me. When it works perfectly, there is a dance between the camera and the performer that really worries me. If I had a few more thoughts for her, I would probably come up with 15 other shots I really love. Although I should give a credit Matt flannery for being able to execute them all the time, but yes.
Last question: Is your next project ranked as a director?
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If you asked me in about two, three weeks, I would probably give you a more informed answer. I have something we plan to shoot in the summer. I’m just shy that I can announce it.
Well, I’m glad to hear that. Selfish, I hope this time among the movies will not take such a long time, so I’m just happy to hear that you have something cooking.
Oh no, it will probably be a much faster process. And apparently, of course, this is another Rom-Com.
Havoc is now streaming Netflix.
